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Watanabe coined the term shin hanga in 1915 to describe such prints. Bartlett, Hashiguchi Goyō, Kawase Hasui (1883-1957), Yoshida Hiroshi (1876-1950), Kasamatsu Shiro (1898–1991), Torii Kotondo, Ohara Koson (Shoson) (1877-1945), Terashima Shimei, Itō Shinsui, Takahashi Shotei (Hiroaki) and Yamakawa Shuho are among the artists whose work he published.

In 1922, Watanabe decided to number prints by Hasui.

By the time the woman has paid, her ice cream has been made correctly, but in the normal small cup.) Me: “I’m sorry, it looks like this has already been made in the small cup. ” Customer: “No, I specifically asked for a medium so it won’t spill.” Me: “Well, I can put a lid on it.

was a Japanese print publisher and the driving force behind the Japanese printmaking movement known as shin hanga ("new prints").

Unlike the publisher’s seals, which we shall discuss next, these margin words and dates are an integral part of each print.

Watanabe Publishing Seals Prior to 1924 Watanabe stamped his prints with a small circular seal which spelled his name.

He advertised that only perfect ones would be chosen, after which the blocks would be destroyed and not reproduced.

I’m afraid to go cause there is a guy who works there who wears a star and says he’s a vampire.” 911: “People are allowed to be vampires if they want to be, ma’am.” Caller: “Oh yeah? We can do a store credit return if you would like, but you would get the lowest price which is about less.” Customer: “Fine. It makes no difference.” Customer: “Then I’ll buy a NEW one and use that receipt to return my broken one! I am the supervisor and would have to report that sort of potential activity to our store security and managers.” Customer: “How did you know what I’m going to do?! ” (A customer in her forties comes through my line, and we exchange pleasantries as I ring her out.

Unfortunately, publishers have provided us with scant information on this subject.

Often quoted by print dealers are the Toledo Museum catalogs of 19 where edition sizes were specified.

The blocks were indeed destroyed, as were all unsold prints, Watanabe’s business establishment, Hasui’s home, sketches and notes, and much of Tokyo and the surrounding area.

Thereafter, Watanabe did not promise that blocks would be destroyed, nor did he number Hasui’s later prints.

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